“Hip Hop Interpellation: Rethinking Autochthony and Appropriation in Irish Rap” Made in Ireland: Studies in Popular Music (Global Popular Music Series), eds. Áine Mangaoang, John O’Flynn, and Lonán Ó Briain. London: Routledge, 2019 [In Press].
“‘Yo Nací Caminando’: Community-Engaged Scholarship, Hip Hop as Postcolonial Studies, and Rico Pabón’s Knowledge of Self.” Journal of World Popular Music Vol. 5, No. 2 (Double Special Issue: Hip Hop Activism and Representational Politics), eds. Adam Haupt, Quentin Williams, and H. Samy Alim (Winter 2018), 169-192.
“Critiquing ‘Twentieth-Century Music’: A Polyvocal Ethnomusicological Response.” Twentieth-Century Music Vol. 14, No. 3 (Discussion Forum: “Defining Twentieth and Twenty-first Century Music”) (co-authored with Laudan Nooshin) (Fall 2017), 426-431.
“‘He’s Calling His Flock Now’: Black Music and Postcoloniality from Buddy Bolden’s New Orleans to Sefyu’s Paris.” American Music 33, no. 3. Special issue: “Transatlantic Perspectives,” ed. Glenda Goodman (Fall 2015): 375–97.
“Musical (African) Americanization in the New Europe: The Case of Aggro Berlin.” In Crosscurrents: American and European Music in Interaction, 1900–2000, ed. Felix Meyer, Carol J. Oja, Wolfgang Rathert, and Anne C. Shreffler, 464–77. Woodbridge, UK: Boydell Press, 2014.
“‘Gheddos du Monde’: Sounding the Ghetto, Occupying the Nation from Berlin to Paris.” In Hip-Hop in Europe: Cultural Identities and Transnational Flows, ed. Sina A. Nitzsche and Walter Grünzweig, 227–39. Zürich: LIT Verlag, 2013.
“Le Cauchemar de la France: Blackara’s Postcolonial Hip Hop Critique in the City of Light.” In Native Tongues: An African Hip-Hop Reader, ed. Paul Khalil Saucier, 179–216. Trenton, NJ: Africa World Press, 2011.
“Musical (African) Americanization in the New Europe: Hip Hop, Race, and the Cultural Politics of Postcoloniality in Contemporary Paris, Berlin, and London.” Ph.D. diss., University of Wisconsin–Madison, 2009.
“Tom Zé’s Fabrication Defect and the ‘Esthetics of Plagiarism’: A Postmodern/Postcolonial ‘Cannibalist Manifesto.’” Popular Music and Society Vol. 30, No. 4 (Summer 2007): 305-327.